Directed By Edward Berger

Starring – Ralph Fiennes, Stanley Tucci, John Lithgow

The Plot – Cardinal Lawrence (Fiennes) is tasked with running this covert process after the unexpected death of the beloved Pope. Once the Catholic Church’s most powerful leaders have gathered from around the world and are locked together in the Vatican halls, Lawrence uncovers a trail of deep secrets left in the dead Pope’s wake, involving secrets which could shake the foundations of the Church.

Rated PG for thematic material and smoking.

CONCLAVE – Official Trailer 2 [HD] – Only In Theaters October 25 (youtube.com)

POSITIVES

Using the words “Suspenseful thriller” to describe any movie pertaining to religion feels like uncharted territory, but Berger’s fearless follow-up effort to 2022’s ‘All Quiet on the Western Front’ packs quite a walloping punch of its own, this time inside of the sacredly claustrophobic confines of a Vatican, where the cutthroat influence of politics rears its ugly head towards destroying a covenant. For a film pertaining to something that I have little connection to, as a devout atheist, I found this script to be every bit scintillating as it was insightful, with unfiltered access into uncharted territory where most of the world will never step. In articulating such a dry and drafty consistency to the character’s isolated quarters, he continuously drives the urgency and provocative factors that drive such a compelling structure, with pocketed dynamics within this covert that drive so many of the internal conflicts within this race to power. What’s most fascinating is that characteristics and ideals of some of the Cardinals involved bare more than a striking resemblance to America’s own predicament inside of an election that all of us can’t wait to be over, with ironic observations about fallacies and progressivism that feel all the more grounded in humanity and reality in a place as hallowed as these halls. One such instance involves a nun’s (Played by Isabella Rosselini) still suppressed situation inside of a male-dominated industry, despite such aforementioned liberalism, but one such scene involving her shows the power that they convey in serving as the eyes and ears of the institution, stunning her male opposition breathlessly in the impact she delivers towards refusing to remain silent when bad people seek tremendous power. This fearless stance will undoubtedly alienate certain members of the audience, while serving as the inevitable driving force towards others, but contrary to where you fall the one thing that we can all agree on is that it deserves to be commended for approaching such ambitious topics with the kind of grace and preciseness as a sharpshooter, inspiring lots of thought-provoking conversations and questions about not only what we look for in a leader, but also dissection about this semblance of unattainable perfection, which so many characters wear like cloaks to keep the demons of their pasts visible to wandering and opportunistic eyes. On top of this, the script smoothly drives the many mysteries surrounding the story and its characters with effortlessly free-flowing conversations, full of so much personality and palpable tension for characters who are sworn to live by example. This gives the characters and covert a deeper sense of lived-in realism that reflects the ever-changing ideals of its surrounding world seamlessly, and considering the film has very little wiggle room of expression inside of a PG rating, it’s all the more incredible how writer Peter Straughan attains such an accessibility and commitment from his audience, making the minutes of a two hour run time fly by with the patience and pursuit of some of the best slow-burn dramas of our time, made all the more riveting by Volker Bertelmann’s ominously unnerving score puncturing every character response with unyielding persistence that something deeper and darker always resides within the devilish details. The impeccable writing and commanding direction are then matched remarkably by all of the choices inside of the film’s technical components, gifting audiences an immersive appeal into the setting that simultaneously renders this hypnotic iconography of the high stakes meeting. Cinematographer Stephane Fontaine intentionally fleshes out the presentation with an almost drab and colorless canvas towards the backdrops and set decoration that allows the red cloths of these Cardinals to pop with alluring mystique, each time they intrude upon the setting in such overwhelming numbers, saving his best magic for these fantastically imaginative sequences involving explosions or entrancing overhead visuals that prove the production values style almost as much as it does substance. The sound schemes inside of the mixing and editing also go a long way in conjuring the kind of overhanging pressure that lends itself to such a monumental decision for these clergymen, plucking these perfectly meticulous moments to absorb permanence in the piercing ambiance of silence, where a single written word on a piece of paper feels catastrophic to an outside world that we wisely never get the chance to see or experience. As expected, the wardrobe also impresses with tremendous detail, both in the accuracy of Cardinal uniforms, as well as the striking distinctness to the proper shade of red, which traditionally symbolizes their devotion to the church, as well as their willingness to die for their faith. While it certainly doesn’t go that far, as hinted at by the aforementioned limitations of the rating, it’s a shield that many of the characters use as a defense against their own momentary lapses, and because of such comes across as an ominous entity each time they travel in droves in or out of their secluded voting room. Lastly, this is also one of the best acted movies that I have seen this year, with everybody handing in meaningfully credible work, but the heaviest lifting being done by the dynamic duo of Ralph Fiennes and Stanley Tucci, who each deserve an Oscar nomination for their respective portrayals. As the faithful (For lack of a better word) protagonist, Fiennes definitely receives the most opportunities to steal the attention of the audience, but there’s a subtly stinging intensity to the kind of responsibility cast upon his crumbling shoulders that make him such a driving force to be reckoned with, where Fiennes typical commitment to delivery not only imbeds an imposing stature that humbles aplenty, but also a maintained Italian accent throughout the engagement that proves the depths of his transformation to the role. Tucci’s time is significantly less than that of Fiennes, but he makes the most of the opportunity with the film’s best conversations that he shares in the closely confiding friendship with Fiennes character, brandishing a mesmerizing radiance to such hard-to-swallow truths that he unloads with the kind of meaningful stoicism that I simply couldn’t get enough of.

NEGATIVES

While ‘Conclave’ is certainly in the running for my best film of 2024, a couple of noteworthy hinderances could ultimately keep it from capturing the top spot, primarily in the air of mysterious structure, which nearly comes crumbling down with an ending that didn’t exactly conjure the kind of impact that Straughan was clearly expecting. Part of the problem is definitely in the predictability of who will take over as pope, with the visuals and set-up showing its hand far too early and often to feel coy, but a lot more goes into the startling revelation involving one particular character and where the film ultimately leaves them, which feels about as believable as any one of these characters sprouting wings at any moment throughout the film. While I appreciate the message of inclusivity that Straughan was stitching together, this is still the Catholic church at the end of the day, and overlooking something so controversial doesn’t feel possible, even in one character knowing this particular secret. On top of this, the ending moments felt a little abrupt and even a bit convenient for my personal taste, persisting long enough past the aforementioned startling revelation, but with no attempt to flesh out future outlooks for characters or the church. Essentially, we get the two big reveals at the end of the film, then a spontaneous conclusion at its grandest momentum, and while that normally feels like the mission to a film involving a major twist, its impact here feels almost inconsequential by the way it’s rendered with uncompromising finality, sweeping the clutter of conflict into a neat and tidy pile that I wish was explored with more time and forewarning uncertainty to this covert.

OVERALL
‘Conclave’ combines the combustible elements of religion and politics that when bottled under one claustrophobic roof, isolated from the outside world, makes for a scintillating drama with all of the stakes of a three-ring circus without a safety net to shield those involved. With mesmerizingly gripping performances that embody commitment, as well as profound meaning in the alluring measures of the presentation, Berger proves he’s certainly not a one hit wonder in the industry, with a backbone to bravery that will inevitably alienate half of his audience, while deconstructing some outdated policies in a church that preaches progressivism.

My Grade: 9/10 or A